Picasso Masterworks 1904–1937 by Lilla Hangay

PICASSO MASTERWORKS 1904â&#x20AC;&#x201C;1937

EXHIBITION PACKAGE

MUSEUM EXHIBITION

50 MASTERPIECES

Picasso Masterworks includes several rarely seen or

This exhibition provides greater insight into the life and

documented works from one of the finest and most

works of Picasso, perhaps because it has the ability to

important private collections in the world. Throughout

breakdown the career and works of the artist, decade by

Picasso’s long and productive career, he produced a

decade, movement and style by movement and style, from

prodigious amount of work in a variety of mediums, none

his early blue and rose period to the primitive African and

more important than his graphic output, and perhaps more

Iberian motifs, to cubism, surrealism, classicism and, later,

so than his ceramics, sculpture and painting. It is surprising

more modern and turbulent abstract changes. Picasso is

that many of his rarest examples of art, such as etchings

one of the most creative geniuses, if not the most creative

from 1910 thru 1914, provide us with greater insight into this

genius, of the twentieth century in modern art.

modern master and a better understanding of relationships that he had with other artists and creative minds whom

Picasso was not just an artist, but also a force in world

he associated with before and between the wars of 1914

society. He expressed his views openly as often as he

and 1937. This is an exhibition that might have been called

felt necessary. When the German and Italian war planes

‘Picasso: Between the War Years.’

bombed the Basque city of Guernica in 1937, Picasso spoke out and created, in just four months’ time, one of

Brought together for the first time, this exhibition is one of

the greatest world masterpieces of art ever produced. In

the most impressive and carefully assembled collections

the process, he produced many drawings and studies that

of Picasso’s graphic art. Many art historians believe this

are now well documented, two of which are included in

creative period to be Picasso’s most important, not just

the exhibition with a direct finger pointed at the dictator

because of his artistic abilities, but also because of historic

Francisco Franco Bahamonde, better known as Franco.

events that took place in Picasso’s time – the modernization of the world, changing structures of political leadership, industrial and economic growth, war and new destructive forces that had never been seen or imagined by man, and the expression and willingness of people to love and forgive what was perhaps not natural, but real.

EXHIBITION PACKAGE

FIFTY (50) WORKS, INCLUDES FORTY-NINE (49) ETCHINGS AND ONE (1) LITHOGRAPH, SUPPORTED WITH DIDACTIC WALL LABELS, ILLUMINATED WALL PANELS AND INTERPRETIVE EDUCATIONAL MATERIALS. ALL PRINTS ARE FRAMED WITH UV-3 PLEXI. SEVEN OF THE PRINTS ARE SHIPPED AND EXHIBITED IN SECURED WALL VITRINES. AVAILABLE FOR EIGHT (8) OR TWELVE (12) WEEK BOOKING PERIODS.

SHIPPING ESTIMATES AND SCHEDULING

PUBLISHED HARDCOVER BOOK

COORDINATION

The exhibition is fully documented in a 134-page book

CMPE will obtain cost estimates and provide complete

with a checklist, didactic interpretations, and a record of

scheduling arrangements to and from the borrowing

provenance on each of the prints included in the exhibition.

institution. USArt is the designated carrier. All shipping

[Museum Store discount 33% or up to 40% on orders of

arrangements are booked and managed by CMPE.

12 or more.]

SIX (6) CRATES

DIDACTIC WALL LABELS

Five (5) include the framed works of art; one (1) crate

Didactic wall labels printed and mounted on light tan

includes illustrated wall panels and explanatory text.

beveled edge museum board. Additional identification labels are provided for photo murals.

COLLECTION Forty-nine (49) etchings and one (1) lithograph make up the

PRESS-KITS

bulk of this collection. There are also four (4) wall panels.

Scanned images, bio and chronologies, as well as

All prints are framed with UV-3 plexi. Seven of the prints are

special focus stories will be provided to the museum for

shipped and exhibited in secured wall vitrines.

distribution to the news media.

INSTALLATION PLAN AND ORGANIZATION

TEACHER’S MANUAL

CMPE will provide a detailed list of works organized into

Essay materials and student ‘in-gallery’ assignments

groupings based on their subject matter that will help

are provided for distribution [may also be used for docent

docents and museum visitors comprehend the works in the

training].

exhibition. EXHIBITION CHECKLIST ONE THOUSAND (1,000) PRINTED GALLERY GUIDES

Box list with condition reports and insurance documents

Additional guides can be provided at cost.

[letter form issued by AXA Art Insurance re. Willis Insurance of New York] are included.

FOR INQUIRIES, PLEASE CONTACT:

Reilly Rhodes Director and Curator

CONTEMPORARY & MODERN PRINT EXHIBITIONS

28992 La Carreterra Laguna Niguel, CA 92677 Email: printexhibitions@cox.net T. 949.347.7101

PICASSO MASTERWORKS 1904â&#x20AC;&#x201C;1937

REILLY RHODES

Cover p. 12 p. 13 p. 50 p. 51 p. 110 p. 111

Detail: Quatre Femmes nues et Tête Sculptée, Four Female Nudes and Sculpted Head, 1934 (No. 41, p. 102). Detail: L’Abreuvoir, The Trough, 1905 (No. 4, p. 20). Garçon Menant un Cheval (Boy Leading a Horse), 1905-1906, Museum of Modern Art, New York, NY. Red-figure vase painting is one of the most important styles of ancient figural art. It developed in Athens around 520 B.C. and remained in use until the late 3rd century B.C. Picasso observed the drawing style and quality of the line that he imitated as the basis of his style in creating the series of etchings for Les Métamorphoses d’Ovide. Detail: Combat pour Andromède entre Persée et Phinée, The Combat for Andromeda between Perseus and Phineus, 1930 (No. 22, p. 62). Detail: Minotaure aveugle guidé par une Fillette, I, Blind Minotaur Led by a Young Girl, I, 1934 (No. 45, p. 114). Minotaur bust, National Archaeological Museum of Athens.

PICASSO MASTERWORKS: 1904-1937 Copyright © 2017 by Contemporary and Modern Print Exhibitions, Laguna Niguel, California, USA. All rights reserved. For the text © Reilly Rhodes. For the graphic images © Artist Rights Society, New York, Estate of Pablo Picasso, Paris, FRANCE. No part of the text of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. No work of art illustrated in this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise. Request for permission to copy any part of the book, other than illustrated works as stated above, should be emailed to the publisher: Contemporary and Modern Print Exhibitions, Laguna Niguel, CA. printexhibitions@cox.net Library of Congress Cataloging-in-Publication Data: Rhodes, Reilly. Picasso Masterworks: 1904-1937. ISBN: 978-0-578-15050-5 1. Reilly Rhodes 2. Pablo Picasso 3. Picasso Masterworks 4. Picasso Prints 1904-1937 Library of Congress Control Number 2016919194 Permission rights for reproduction of Picasso prints has been granted by Artist Rights Society, ARS, NYC. Published by Contemporary and Modern Print Exhibitions Reilly Rhodes, Curator and Author Lilla Hangay, Book Design Cristin Riedel, Copy Editor Photography: CMPE, Larry Cohn Production: InnerWorkings, Ltd., San Francisco Printed in China by Artron Art Printing (HK) Ltd. First edition: 1000 copies / 500 soft-cover This book and catalogue is published in conjunction with PICASSO MASTERWORKS: 1904-1937, a national touring exhibition organized by CMPE and circulated to museums under the auspices of Contemporary and Modern Print Exhibitions. Distributed by CMPE

CONTENTS PREFACE – REILLY RHODES • 1 SALTIMBANQUES • 2 CUBISM •

3 CLASSICISM & SURREALISM •

4 THE SCULPTOR’S STUDIO – VOLLARD SUITE • 5 THE MINOTAUR • CHECKLIST

•

108

128

SELECTED BIBLIOGRAPHY

•

132

“The purpose of art is washing t h e d u s t o f d a i l y l i f e o f f o u r s o u l s .” – PABLO PICASSO

PREFACE

icasso has long been considered the dominant figure in modern art. He was also probably the most prolific artist of all time. Without doubt, he was genius in

his craft. For what he could not gain through studies of others—from Rembrandt to Euphronios—he invented. No others’ art, it seems, has intrigued such public curiosity. His career spanned the full spectrum of modern art. He is often identified with his more bazaar compositions of rearranged anatomy. Subject matter for Picasso has always been a precursor to style. As a youth, he was a formidable draftsman and, by the age of fourteen, he could handle a paint brush with equal skill to a master. He was well prepared and trained at the best art schools in Spain. He said, “You have to have an idea of what you are going to do, but it should be a vague idea.” The subjects that appealed to him most, while he was young, were scenes of the city café life, street entertainers, and the disadvantaged. It was his belief that the artist serves as a receptacle for emotions that come from a wide variety of sources and influences. His later subjects were circus performers, harlequins, bull fighting, portraits and figurative works. After relocating from Barcelona to Paris in 1904, Picasso was again in search of an art style. He had very little money and was seeking a way to produce more art that he could offer for sale. It was suggested by a fellow painter, Ricard Canals, that he should produce etchings that could be sold in multiple quantities. Using a borrowed zinc plate that had previously been used for the subject of a landscape, Picasso began to scrape down the image that had been made by Joan González, the brother of sculptor Julio González, who lived in the same building as Picasso. On his first attempt, Picasso created a masterpiece and one of his most sought after etchings, Le Repas Frugal, 1904. The image is both powerful and haunting. Officially, it is the only print produced during his Blue Period, though some historians consider Tête de Femme (Head of a Woman), 1905, and Les Pauvres (The Poor), 1905, as part of his Blue Period. Both etchings reveal the mood and subject choice of Picasso’s earlier Blue Period works. Picasso created fourteen etchings in 1905 and one in 1906, completing the series he called La Suite des Saltimbanques (Suite of the Acrobats). The majority of his models were from a local circus family living near his studio. Generally speaking, Picasso’s Blue Period shows more of the somber ‘Spanish Picasso’, while his Rose Period reveals the more optimistic works of the ‘French Picasso’. Picasso’s studio, the Bateau-Lavoir, was located in Montmartre, on the Right Bank in the northern section

of Paris. His friend, Georges Braque, lived nearby at the Hôtel Roma, across from the Cimetière de Montmartre. As early as 1907, Picasso and Braque collaborated on the same motifs centered on ideas that eventually became known as Cubism. Each day, particularly between 1910 and 1912, they critiqued each other’s work and defined what became known as the most revolutionary change in the visual arts since the Renaissance. The influence of Cubism lasted well through the midtwentieth century, when Abstract Expressionism was established. By then, the art market and centers of activity in the visual arts world had shifted away from Europe to America, particularly New York. In the post-war years (1920-1930), both Picasso and Braque moved on to other experiments and changes in their art. While Cubism was unique and revolutionary, Picasso was just getting started and was generally unpredictable as to what might be next in his already highly remarkable career. In 1927, he met Marie-Thérèse Walter who became his mistress and muse until 1935. She was a dominate force in his printmaking and painting, appearing in most of his major works of art during the eight years of their relationship. It was during this time that he was given his most important graphic arts commission by the Parisian art dealer and publisher, Ambroise Vollard. The Vollard Suite, as it became known, consisted of one hundred etchings; Marie-Thérèse was a model in at least thirty of the prints. In 1933, Picasso became fascinated by news accounts of archaeological activity on the island of Crete (Kríti), particularly those involving the palace of King Minos. One of the goals of the excavation was to pursue the ancient myth and find the ruins of a labyrinth under the foundation, where King Minos was said to have kept the terrifying creature known as the Minotaur. In Greek mythology, the Minotaur had the head of a bull and the body of a man. He is described in the writings of the Roman poet Ovid and depicted in ancient Greek sculptures just as Ovid describes him. The Minotaur replaced the harlequin as a common motif in Picasso’s work. His use of the Minotaur came partly from his contact with the surrealists, who often used it as their symbol. The Minotaur is considered not only one of Picasso’s most important graphic arts subjects in twentieth century printmaking, but in all of art history. It is also the most coveted of any print subject ever produced by any artist.

In 1937, just before the beginning of World War II, the town of Guernica, in northern Spain, was bombed in a convulsive civil war that began a year earlier. Guernica was the cultural capitol of the Basque people and the seat of centuries-old independence and democratic ideas. The Basque people resisted the dictatorship of General Francisco Franco. With the intervention of Adolf Hitler, Guernica became a strategic military target that would serve as a testing ground for a new Nazi military tactic known as ‘blanket-bombing’ to demoralize the enemy with a wanton, man-made holocaust. Picasso was enraged by the event that he saw as outright genocide. His response came quickly and assertively. Within weeks, he had completed his painting that he titled Guernica, measuring 11.5 feet tall and 25.6 feet wide. The painting was exhibited in the Paris World’s Fair in the summer of 1937. In the same year, Picasso also made two large etchings that he planned to be cut into postcards and sold. Both etchings, consisting of nine panels each, are titled Sueño y Mentira de Franco (The Dream and Lie of Franco).

— Reilly Rhodes

Curator

icasso’s La famille de saltimbanques (Family of

themselves, wearing a range of colors and patterns that

Acrobats) focuses on circus performers whom he

gave them their unique style. His compositions often

likely met at a café near Paris’s legendary Cirque

depict the acrobats as people behind the scenes, either

Medrano. Picasso’s studio, the Bateau-Lavoir, was

bathing, rehearsing or performing carnival tasks, such

located in Montmartre, just blocks away from the Cirque

as leading circus horses to a watering place

Medrano in the northern section of Paris.

(L’Abreuvoir, 1905).

From its beginnings, the circus had not only been tightly

Not all of the etchings in the series of Saltimbanques

woven into the artistic lifestyle of the French capital but

relate to the circus performers. Picasso included in the

also was a popular place of entertainment for its long

group images that pertain to poverty and melancholy,

association with artists, writers, journalists, and literati.

such as Le Repas Frugal, Tête de Femme, Les Pauvres

The setting was a favorite for Henri de Toulouse-Lautrec,

and others, all dated 1905. Two of the etchings are

Georges Seurat, Auguste Renoir, Edgar Degas and other

highly unusual, relating to biblical subjects: La Danse

artists before Picasso. There is, however, a difference in

and Salomé. The three family subjects include La

the approach that Picasso took with his art that other

Famille de Saltimbanques au Macaque, Le Bain and

artists did not pursue. His focus was on individuals, their

La Toilette de la Mère. The family subjects include a

place in society and their economic standing. He did not

mother, child and a father, who is seen as a harlequin

dwell on their skills or talents as performers. They were

in all three images.

bohemians, living in temporary conditions with informal and unconventional social habits. Picasso saw them as being extremely creative with a wide range of tastes. They had no fear of how they looked or presented

1 SALTIMBANQUES Le Repas Frugal, 1904 Les Pauvres, 1905 Les Deux Saltimbanques, 1905 L’Abreuvoir, 1905 Le Bain, 1905 La Toilette de la Mère, 1905

LE REPAS FRUGAL THE FRUGAL MEAL 1904 Etching on Van Gelder wove paper Refurbished zinc plate Pulled by Fort with plate tine from the edition of 250 46.3 x 37.7 cm (18.2 x 14.8 in.)

[Bloch: 1]

Created during Picasso’s Blue Period, Le Repas Frugal

Exhibition History: Picasso, Braque and Léger: Twentieth Century

(The Frugal Meal) is one of the masterpieces of twentieth-

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

century graphic art. The large, hauntingly expressive work was completed shortly after the artist moved to France

Publications: Picasso The Printmaker: Graphics from

and settled into a dilapidated tenement building, in the

The Marina Picasso Collection. Dallas Museum of Art, Exhibition

low-rent district of Montmartre. During his Blue Period,

Catalogue, pp. 30-34, 1983.

the struggling artist’s palate was dominated by hues of

Picasso: 200 Masterworks from 1898 to 1972. Bernice B. Rose and Bernard Ruiz Picasso, editors. A Bullfinch Press Book,

blue, usually associated with melancholy. His cast of

Little, Brown and Company, Boston, 2002, Exhibition Catalogue,

destitute characters included the poor, the sick and society’s

Plate No. 4.

outcasts. With limited art supplies used due to Picasso’s

Graphic Modernism: Selections from the Francey and Dr. Martin

lack of money, Le Repas Frugal rises above abject misery.

L. Gecht Collection at the Art Institute of Chicago. Exhibition

Picasso created an allegory of survival that addressed the

Catalogue, November 15, 2003-January 11, 2004, Plate No. 100/full

weariness and angst faced by the struggling artist. In this

page illustration.

austere etching, Picasso brought to refinement a couple in a café and the solitude of the blind man. The woman stares directly at the viewer, emphasizing the blindness of her companion. Their angular bodies and elongated fingers and the chalky, cold light recall works by El Greco (Spanish Renaissance painter, 1541-1614).

LES PAUVRES THE POOR 1905 From Picasso’s Blue Period Etching on Van Gelder paper Pulled by Fort from the edition of 250 23.6 x 18.0 cm (9.3 x 7.1 in.)

[Bloch: 3]

Picasso’s haunting image reveals an abandoned family in a

Provenance: Leslie Sacks Collection, Los Angeles, CA.

lonely, desolate landscape. The children appear impatient

Exhibition History: Picasso, Braque and Léger: Twentieth

in biding their time. All seem to be barefoot, cold and

Century Modern Masters. Forest Lawn Museum, Glendale,

hungry. The father’s arms are folded against his body. In

CA (Los Angeles County), September 2012-January 2013;

the background, a horse grazes on what it can find to eat.

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

The engraving is dark, conveying a feeling of little hope for

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September

their future.

2016-November 2016. Publication History: Picasso: Sixty Years of Graphic Works. Los Angeles County Museum of Art, Exhibition Catalogue, Plate No. 3, 1966.

LES DEUX SALTIMBANQUES T W O AC R O BAT S 1905 Etching and drypoint on copper plate Printed on Van Gelder wove paper 12.2 x 9.1 cm (4.8 x 3.6 in.)

[Bloch: 5]

This scene depicts two young boys who are acrobats

Exhibition History: Picasso, Braque and Léger: Twentieth Century

with the Cirque Medrano near Place de Ravignan, at the

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

foot of Montmartre near Picasso’s studio. The figures of adolescent acrobats appear in several of Picasso’s works,

Publications: E. A. Carmean, Jr. Picasso: The Saltimbanques.

either alone, as in Juggler with Still Life, 1905, or as part

National Gallery of Art, Exhibition Catalogue, December 14,

of a group in The Family of Saltimbanques, 1905. Close

1980-March 15, 1981.

observation of the incised lines on the left show that

Deborah Wye. A Picasso Portfolio: Prints from The Museum of Modern Art. Published by The Museum of Modern Art, Plate No.

Picasso changed the placement of the legs. One of the

3, pp. 20-27, March 28, 2010-September 6, 2010.

boys stands in full frontal view while the other is in profile.

Phillip J. Earenfight. Picasso and the Circus: Fin-de-Siècle Paris

This is also the first signed print made by Picasso with the

and the Suite de Saltimbanques. The Trout Gallery, Dickinson

signature on the plate, as well as the date in the narrow

College, Carlisle, Pennsylvania, Fig. 39, pp. 48-49, 2011.

strip above: <1905 P>.

L’ABREUVOIR THE TROUGH 1905 Drypoint printed on Van Gelder wove paper Signed in pencil 12.2 x 18.8 cm (4.8 x 7.4 in.)

[Bloch: 8]

This equestrian scene in the etching shows grooms with

Curator’s Note: This print is believed to have been the first

their horses at a watering place. The horses were part of a

print signed by Picasso in pencil with a ‘period signature’, dated 1905.

local circus near Picasso’s studio in the Montmartre District of Paris. L’Abreuvoir is the first-known pencil-signed print

Exhibition History: Picasso, Braque and Léger: Twentieth

by Picasso. A second printing occurred in 1911 after the

Century Modern Masters. Fort Wayne Museum of Art, Fort

plates were sold to art dealer Daniel-Henry Kahnweiler.

Wayne, IN, September 2016-November 2016.

The plates were steel-faced to protect the delicate etching Publication: E. A. Carmean, Jr. Picasso: The Saltimbanques.

lines from breaking down in a much larger edition of 250

National Gallery of Art, Exhibition Catalogue, December 14,

impressions, printed by Louis Fort.

1980-March 15, 1981, Plate No. 73.

In 1905, Picasso began to experiment with new subjects and a warmer palette. His Rose Period is characterized by scenes of acrobats, harlequins and portraits. In March 1905, he produced etchings that included scenes of circus performers, women washing their hair, and a mother bathing a young child. Evolving from L’Abreuvoir, Picasso created an oil painting Garçon Menant un Cheval (Boy Leading a Horse), 19051906 (MOMA Collection, gift of William S. Paley), showing the horse and groom at the center of the composition.

LE BAIN T H E BAT H 1905 Drypoint on copper plate Printed on Van Gelder wove paper Signed in pencil Pulled by Fort 34.4 x 28.9 cm (13.5 x 11.4 in.)

[Bloch: 12]

Le Bain (The Bath) marks the main theme of La Suite des

Exhibition History: Picasso, Braque and LĂŠger: Twentieth Century

Saltimbanques that depicts behind the scenes daily life of

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

a family of circus acrobats and performers whom Picasso came to know in 1904-1905. Many of these gypsy types

Publications: Deborah Wye. A Picasso Portfolio: Prints from The

were models for Picasso during his transition from his

Museum of Modern Art. Published by The Museum of Modern

Blue Period to his Rose Period. This was the time when

Art, Plate No. 6, pp. 20-27, March 28, 2010-September 6, 2010.

Picasso began to use cheerful orange and pink colors in

Phillip J. Earenfight. Picasso and the Circus: Fin-de-SiĂ¨cle Paris and the Suite de Saltimbanques. The Trout Gallery, Dickinson

contrast with his earlier use of cool, somber tones in what

College, Carlisle, Pennsylvania, Fig. 35, pp. 42-43, 2011.

is known as his Blue Period.

LA TOILETTE DE LA MÈRE M OT H E R WA S H I N G H E R H A I R 1905 Etching and scraper on zinc plate Printed on Van Gelder wove paper 23.5 x 17.6 cm (9.3 x 6.9 in.)

[Bloch: 13]

Many historians believe that Picasso may have been

Exhibition History: Picasso, Braque and Léger: Twentieth Century

influenced by Japanese woodblock prints in making his

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

compositions for La Suite des Saltimbanques. The modeling of La Toilette de la Mère (the mother shown washing her

Publications: E. A. Carmean, Jr. Picasso: The Saltimbanques.

hair) is treated with a high sense of intimacy that was

National Gallery of Art, Exhibition Catalogue, December 14,

more commonly seen in Japanese art than in the works of

1980-March 15, 1981, Plate No. 101, p. 91.

European artists such as Edgar Degas and Pierre Bonnard.

Deborah Wye. A Picasso Portfolio: Prints from The Museum of Modern Art. Published by The Museum of Modern Art, Plate No. 5,

Picasso’s image presents the bath as yet another scene in

pp. 20-27, March 28, 2010-September 6, 2010.

the routine family life of the circus performers.

Phillip J. Earenfight. Picasso and the Circus: Fin-de-Siècle Paris and the Suite de Saltimbanques. The Trout Gallery, Dickinson College, Carlisle, Pennsylvania, Fig. 38, pp. 46-47, 2011.

icasso returned to printmaking in 1909 when he

cubist. Stylistically, it relates to Picasso’s painting Les

began working with Georges Braque to make

Demoiselles d’Avignon (1907) that is sometimes identified

images identified as Cubism. Braque first made

with the influence of African and Iberian sculpture

an etching that he titled Étude de nu, 1908, which was

collected by Picasso, Braque and others.

a nude study. The following year, Picasso made Deux figures nues. Within months, both artists were working

Among some of the earliest cubist prints by Picasso,

in unison, often with the same subject matter. In the

this collection includes two rarely seen suites consisting

years between 1910 and 1912, Braque and Picasso had

of seven etchings. The first set comprises four prints, each

developed a style that Picasso’s dealer Daniel-Henry

dated 1910 and titled Saint Matorel, and the second set is

Kahnweiler termed Analytic Cubism, or High Cubism.

dated 1913/1914 and titled Le Siège de Jérusalem.

It was during this period that Picasso and Braque visited each other’s studio quite often and critiqued each other’s work. A side-by-side comparison of their prints and paintings is almost indistinguishable. One of the rarest and earliest works by Picasso is titled Deux figures nues (Two Nude Figures), 1909. It shows two nudes, a seated female with a mandolin at her side and a boy offering her a cup as he raises it toward her face. The print is the first by Picasso that can properly be called

2 CUBISM Deux figures nues, 1909 Mademoiselle Léonie, 1910 La Table, 1910 Mademoiselle Léonie dans une Chaise longue, 1910 Le Couvent, 1910

Tête d’Homme, 1912 Femme nue, 1914 Nature morte au Crâne, 1914 Femme, 1914 L’Homme au Chapeau, 1914-1915

DEUX FIGURES NUES F E M A L E N U D E W I T H M A N D O L I N A N D B OY W I T H C U P 1909 Drypoint etching Printed on Arches laid paper Signed in pencil Pulled by Delâtre from the edition of 100 13.0 x 11.0 cm (5.1 x 4.3 in.)

[Bloch: 17]

This etching was produced during a period when Picasso

Exhibition History: Picasso, Braque and Léger: Twentieth Century

and Braque were influenced by the work of Paul Cezanne,

Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013; Oglethorpe

an innovative Post-Impressionist painter. Cezanne’s

Museum of Art, Atlanta, GA, September 2013-January 2014; Fort

work laid the foundation for the transition from 19th-

Wayne Museum of Art, Fort Wayne, IN, September 2016-November

century endeavors to the radically different art of the

2016.

20th century. Deux figures nues demonstrates Picasso’s Publications: E. A. Carmean, Jr. Picasso: The Saltimbanques.

search for expression through drawing. The etching also

National Gallery of Art, Exhibition Catalogue, December 14,

shows a relationship to his earlier interest and influence

1980-March 15, 1981.

in African and Iberian art. The engraving was produced

Deborah Wye. A Picasso Portfolio: Prints from The Museum

just two years after Picasso’s brothel composition of 1907,

of Modern Art. Published by The Museum of Modern Art, Plate

Les Demoiselles d’Avignon. Many of his paintings and

No. 9, pp. 28-35, 2010.

studies during this time show strong theatrically composed arrangements as though viewing the subject in a stage setting. When comparing the work with Picasso’s 1909 painting Standing Female Nude (Philadelphia Museum of Art), it becomes obvious that there is a hint of what is to come in the development and establishment of Cubism.

MADEMOISELLE LÉONIE M M E . L ÉO N I E 1910 Max Jacob / Saint Matorel Drypoint on Van Gelder laid paper Pulled by Delârte from the edition of 106 20.0 x 14.1 cm (7.9 x 5.6 in.)

[Bloch: 19]

Mademoiselle Léonie is believed to have been an acrobat

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

with the Cirque Medrano who posed occasionally for

Exhibition History: Cubist Prints from the Collection of Dr. &

Picasso. Picasso biographer, John Richardson, described

Mrs. Abraham Melamed. Elvehjem Art Center, University of

her in his book, A Life of Picasso: 1907-1917, as having

Wisconsin-Madison, Cat. No. 13, February 5, 1972-March 12, 1972.

“gamie looks and a lean little body that inspired a group of

The Cubist Print. National Gallery of Art; University Art Museum

figurative paintings bearing no resemblance to Fernande.”

at the University of California, Santa Barbara; Toledo Museum of

Fernande [Olivier] was Picasso’s first long-term relationship

Art, Toledo, OH, 1981-1982. Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell

and the subject of many of Picasso’s Rose Period paintings

Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa

(1905-1907).

Barbara Museum of Art, CA, September 17, 2011-January 8, 2012. Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016. Publication History: Cubist Prints from the Collection of Dr. & Mrs. Abraham Melamed. Elvehjem Art Center, University of Wisconsin-Madison, 1972. The Cubist Print. University Art Museum, University of California, Santa Barbara, 1981. Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara Museum of Art, 2011.

LA TABLE T H E TA B L E ( T H E D R E S S I N G TA B L E ) 1910 Max Jacob / Saint Matorel Drypoint on Van Gelder laid paper Pulled by Delâtre from the edition of 106 20.0 x 14.2 cm (7.9 x 5.6 in.)

[Bloch: 20]

In addition to the two figurative works that Picasso made

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

for Saint Matorel, he also made two still life images titled

Exhibition History: Cubist Prints from the Collection of Dr. &

La Table, 1910. Only one was used in Max Jacob’s book.

Mrs. Abraham Melamed. Elvehjem Art Center, University of

The subject matter shows an interior of Picasso’s apartment

Wisconsin-Madison, Cat. No. 14, 1972.

in Cadaqués. Though abstract, peering into the space,

The Cubist Print. National Gallery of Art; University Art Museum

the view shows a dressing table, mirror and an array of

at the University of California, Santa Barbara; Toledo Museum of

toilet paraphernalia: glass, toothbrush, bottles and jars.

Art, Toledo, OH, 1981-1982. Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell

Described by Picasso historian John Richardson, recession

Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa

is not perceptively defined but neatly suggested by the

Barbara Museum of Art, CA, September 17, 2011-January 8, 2012.

contrast of a small key in the drawer at the back with the

Picasso, Braque and Léger: Twentieth Century Modern

larger key in the drawer in front—a technique of focusing

Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September

attention on a familiar object that the viewer instinctively

2016-November 2016.

wishes to grasp – the idea of this added element originated

Publication History: Cubist Prints from the Collection of Dr. &

with Braque.

Mrs. Abraham Melamed. Elvehjem Art Center, University of Wisconsin-Madison, 1972. The Cubist Print. University Art Museum, University of California, Santa Barbara, 1981. Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara Museum of Art, 2011.

MADEMOISELLE LÉONIE DANS UNE CHAISE LONGUE M M E . L ÉO N I E I N A C H A I S E LO U N G E 1910 Max Jacob / Saint Matorel Drypoint on Van Gelder laid paper Pulled by Delâtre from the edition of 106 19.8 x 14.2 cm (7.8 x 5.6 in.)

[Bloch: 21]

While vacationing by the sea at Cadaqués near Barcelona,

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

Picasso had finished a painting Female Nude in the summer

Exhibition History: The Cubist Print. National Gallery of Art;

of 1910. To illustrate Max Jacob’s autobiographical fantasy

University Art Museum at the University of California, Santa

Saint Matorel, Picasso made two etchings based on the

Barbara; Toledo Museum of Art, Toledo, OH, 1981-1982.

figure. His first attempt was the image of Mademoiselle

Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell

Léonie, 1910, in which he took the figure in his completed

Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa

painting a stage further, opening up the forms into each

Barbara Museum of Art, CA, September 17, 2011-January 8, 2012. Picasso, Braque and Léger: Twentieth Century Modern

other. In a second image, Mademoiselle Léonie dans une

Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September

Chaise Longue, 1910, he continued the process. Both prints

2016-November 2016.

were more elaborate versions of the painting and greatly advanced the importance of Cubism.

Publication History: Cubist Prints from the Collection of Dr. & Mrs. Abraham Melamed. Elvehjem Art Center, University of Wisconsin-Madison, 1972. The Cubist Print. University Art Museum, University of California, Santa Barbara, 1981. Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara Museum of Art, 2011.

LE COUVENT C O N V E N T O F SA I N T M ATO R E L 1910 Max Jacob / Saint Matorel Drypoint on Van Gelder laid paper Pulled by Delâtre from the edition of 106 20.0 x 14.1 cm (7.9 x 5.6 in.)

[Bloch: 22]

Le Couvent was based on the architecture of Sant Pere

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

de Rodes, a former Benedictine monastery at Cadaqués

Exhibition History: Cubist Prints from the Collection of Dr. &

northeast of Barcelonia, Spain. In his biography A Life of

Mrs. Abraham Melamed. Elvehjem Art Center, University of

Picasso: 1907-1917, art historian John Richardson recounts

Wisconsin-Madison, Cat. No. 15, 1972.

that Cubism had developed at such a pace over the

The Cubist Print. National Gallery of Art; University Art Museum

previous year that Picasso was ready for sustenance in

at the University of California, Santa Barbara; Toledo Museum of

his homeland of Spain and settled on the French village

Art, Toledo, OH, 1981-1982. Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell

of Cadaqués for the summer. Just a few weeks after his

Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa

arrival, his dealer, Daniel-Henry Kahnweiler, wrote to ask

Barbara Museum of Art, CA, September 17, 2011-January 8, 2012.

if he would illustrate Max Jacob’s autobiographical fantasy

Picasso, Braque and Léger: Twentieth Century Modern

Saint Matorel. Kahnweiler had offered the commission to

Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September

Andre Derain who turned it down, complaining that the

2016-November 2016.

book was too disconcerting and paradoxical. Picasso was

Publication History: Cubist Prints from the Collection of Dr. &

concerned more about regenerating Cubism to keep it

Mrs. Abraham Melamed. Elvehjem Art Center, University of

from drifting into art for art’s sake and took on the project,

Wisconsin-Madison, 1972.

though he did not concern himself with Jacob’s narrative

The Cubist Print. University Art Museum, University of California,

prose. In the end, the disjunction between word and image

Santa Barbara, 1981.

works to the book’s advantage and resulted into one of the

Picasso and Braque: The Cubist Experiment 1910-1912. Santa

most successful collaborative efforts of painter and poet,

Barbara Museum of Art, 2011.

known as livre d’artiste.

TÊTE D’HOMME HEAD OF A MAN WITH PIPE 1912 Etching on Arches laid paper Signed in pencil From the edition of 100 13.0 x 11.0 cm (5.1 x 4.3 in.)

[Bloch: 23]

Picasso and Braque made several small engravings

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

between 1910 and 1914 that they considered more of a

Exhibition History: Cubist Prints from the Collection of Dr. &

personal exercise than for commerce. In the process,

Mrs. Abraham Melamed. Elvehjem Art Center, University of

Tête d’Homme (Head of a Man with Pipe), 1912, and

Wisconsin-Madison, Cat. No. 16, February 5, 1972 -March 12, 1972.

L’Homme au Chapeau (Head of a Man with Hat),

The Cubist Print. National Gallery of Art; University Art Museum

1914-1915, were produced.

at the University of California, Santa Barbara; Toledo Museum of Art, Toledo, OH, 1981-1982. Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell

In 1910-1911, Picasso made a series of cubist engravings

Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa

and paintings based on portraiture. These works include

Barbara Museum of Art, CA, September 17, 2011-January 8, 2012.

Portrait of D. H. Kahnweiler, 1910, and Portrait of Wilhelm

Picasso, Braque and Léger: Twentieth Century Modern

Uhde, 1910, German collectors and art dealers, as well as

Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September

Portrait of Ambroise Vollard, 1910, Parisian art dealer and

2016-November 2016.

publisher. It was perhaps Cézanne’s Portrait of Vollard,

Publication History: Cubist Prints from the Collection of Dr. &

1899, that most influenced Picasso in making the series.

Mrs. Abraham Melamed. Elvehjem Art Center, University of

He also painted a cubist style portrait of the art collector

Wisconsin-Madison, 1972.

Gertrude Stein that influenced fellow Spanish artist Juan

The Cubist Print. University Art Museum, University of California,

Gris to make a painting and engraving in the same stylistic

Santa Barbara, 1981.

likeness that he titled Hommage à Picasso, 1912.

William Rubin. Picasso and Braque: Pioneering Cubism. Museum of Modern Art, New York, p. 193, 1989. Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara Museum of Art, 2011.

FEMME NUE FEMALE NUDE 1914 Max Jacob / Le Siège de Jérusalem Drypoint on Van Gelder laid paper Pulled by Delâtre from the edition of 106 as follows: 1-15 on Japanese Inteotukeoku, 16-100 on Van Gelder, and 6 hors de commerce 15.6 x 11.6 cm (6.1 x 4.6 in.)

[Bloch: 25]

Le Siège de Jérusalem was a play written by Picasso’s

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

close friend, Max Jacob. German art dealer, Daniel-Henry

Exhibition History: The Cubist Print. National Gallery of Art;

Kahnweiler, decided to publish the manuscript and Picasso

University Art Museum at the University of California, Santa

agreed to submit four cubist style etchings for publication.

Barbara; Toledo Museum of Art, Toledo, OH, 1981-1982.

The images, however, had nothing to do with the subject

Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell

or title of the work that focused on the decisive events of

Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa

the First Jewish–Roman War in 70 A.D. The Roman army, led

Barbara Museum of Art, CA, September 17, 2011-January 8, 2012. Picasso, Braque and Léger: Twentieth Century Modern

by the future Emperor Titus, with Tiberius Julius Alexander

Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September

as his second-in-command, besieged and conquered the

2016-November 2016.

city of Jerusalem, which had been occupied by its Jewish defenders in 66 A.D. Perhaps it was the author or the

Publication History: Cubist Prints from the Collection of Dr. &

publisher who sought Picasso’s involvement, thinking that

Mrs. Abraham Melamed. Elvehjem Art Center, University of

the inclusion of the prints might make the book more

Wisconsin-Madison, 1972. The Cubist Print. University Art Museum, University of California,

appealing to the market they intended to serve.

Santa Barbara, 1981. Mary Ann Caws. Pablo Picasso (Critical Lives Series). Published by Reaktion Books, Ltd., London, 2005. Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara Museum of Art, 2011.

NATURE MORTE AU CRÂNE STILL LIFE WITH SKULL 1914 Max Jacob / Le Siege de Jérusalem Drypoint on Van Gelder laid paper Pulled by Delâtre from the edition of 106 as follows: 1-15 on Japanese Inteotukeoku, 16-100 on Van Gelder, and 6 hors de commerce 15.4 x 11.4 cm (6.1 x 4.5 in.)

[Bloch: 26]

In 1913, while Picasso was working on the illustrations for

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

Max Jacob’s script Le Siège de Jérusalem, Picasso’s father

Exhibition History: Cubist Prints from the Collection of Dr. &

died. His choice of selecting a still life with a skull was

Mrs. Abraham Melamed. Elvehjem Art Center, University of

perhaps a reflection of that death.

Wisconsin-Madison, Cat. No. 18, 1972. The Cubist Print. National Gallery of Art; University Art Museum at the University of California, Santa Barbara; Toledo Museum of Art, Toledo, OH, 1981-1982. Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa Barbara Museum of Art, CA, September 17, 2011-January 8, 2012. Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016. Publication History: Cubist Prints from the Collection of Dr. & Mrs. Abraham Melamed. Elvehjem Art Center, University of Wisconsin-Madison, 1972. The Cubist Print. University Art Museum, University of California, Santa Barbara, 1981. Mary Ann Caws. Pablo Picasso (Critical Lives Series). Published by Reaktion Books, Ltd., London, 2005. Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara Museum of Art, 2011.

FEMME WOMAN 1914 Max Jacob / Le Siège de Jérusalem Drypoint on Van Gelder laid paper Pulled by Delâtre from the edition of 106 as follows: 1-15 on Japanese Inteotukeoku, 16-100 on Van Gelder, and 6 hors de commerce 16.0 x 10.9 cm (6.3 x 4.3 in.)

[Bloch: 27]

The etching was printed in January 1914 by Paul Birault, in

Provenance: Collection of Dr. and Mrs. Abraham Melamed.

Paris, for Daniel-Henry Kahnweiler. Le Siège de Jérusalem

Exhibition History: Cubist Prints from the Collection of Dr. &

was written by Max Jacob and completed in November

Mrs. Abraham Melamed. Elvehjem Art Center, University of

1911. This three-act piece reflects Jacob’s mystical quest

Wisconsin-Madison, 1972.

and contains the record of his researches on cabal and

The Cubist Print. National Gallery of Art; University Art Museum

astrology. Jacob interweaves the profane and the sacred,

at the University of California, Santa Barbara; Toledo Museum of

the grotesque and the sublime, the comical and the

Art, Toledo, OH, 1981-1982. Picasso and Braque: The Cubist Experiment 1910-1912. Kimbell

marvelous, in a dream-like atmosphere that turns into a

Art Museum, Fort Worth, TX, May 29, 2011-August 21, 2011; Santa

nightmare (Brigitte Baer catalogs the engraved works of

Barbara Museum of Art, CA, September 17, 2011-January 8, 2012.

Picasso).

Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September

During Picasso’s stay in Ceret, he agreed to illuminate

2016-November 2016.

the text in June 1913 at the request of Kahnweiler. At first

Publication History: Cubist Prints from the Collection of

sight, Picasso’s etchings (one for each act) seem to have

Dr. & Mrs. Abraham Melamed. Elvehjem Art Center, University of

nothing to do with the text they purport to illustrate; none

Wisconsin-Madison, 1972.

of the characters or scenes are recognizable. Picasso’s

The Cubist Print. University Art Museum, University of California,

Cubism plays permanently with the polysemy of signs

Santa Barbara, 1981.

and the precise study of each that brings one back to the

Mary Ann Caws. Pablo Picasso (Critical Lives Series). Published by Reaktion Books, Ltd., London, 2005.

symbols developed by Jacob in this drama.

Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara Museum of Art, 2011.

L’HOMME AU CHAPEAU H E A D O F A M A N W I T H H AT 1 9 1 4 -1 9 1 5 Drypoint etching on Arches laid paper Edition of 435 for Du Cubism 6.8 x 5.5 cm (2.7 x 2.2 in.)

[Bloch: 29]

Curator’s Note: Published for Du Cubisme, 1947 edition. Du Cubisme is a book written in 1912 by Albert Gleizes and Jean Metzinger. This was the first major text on Cubism, predating Les Peintres Cubistes, 1913, by Guillaume Apollinaire. A new edition was published in 1947 with original plates provided by both first and second generation cubist artists, solicited at the request of the authors. Picasso’s comment to Metzinger and Gleizes was that many of the small cubist etchings were not made for commerce, but were instead meant to be for personal enjoyment and use by himself and Braque. According to Gleizes, Picasso printed three of four images of L’Homme au Chapeau, possibly as early as 1913, and that he believed there was only one impression accessioned in the collection of the Picasso Museum in Paris. Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013; Oglethorpe Museum of Art, Atlanta, GA, September 2013-January 2014; Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

icasso’s Classicism can be attributed largely to his work in printmaking. Between 1927 and 1931, he was given three important commissions for making

a series of etchings, two of which would be published livres d’artistes, and the third as a suite with a central theme of the sculptor and the studio. The three bodies of work include Le Chef-d’Œuvre Inconnu, 1927; The Vollard Suite, 1939; and Les Métamorphoses d’Ovide, 1930-1931. The Surrealism movement had begun in the early 1920s as a natural progression of art identity based on contradictory circumstances or settings involving dreams and reality. In a sense, it was a movement that grew out of the post-cubist ideas, not by Braque or Picasso, but by other artists who embraced the cubist ideas, or what evolved from the original ‘first generation’ cubist works. Some of the more significant examples of Picasso’s Surrealist works include: Figure, (lithograph from 1929); Joueuses à la balle, 1932; Modèle et Sculpture Surréaliste, 1933; and Deux Femmes (The Visit), 1933.

3 CLASSICISM AND SURREALISM Taureau Attaquant un Cheval, 1921 Visage, 1928 Deux Femmes Nues, 1930 Les Filles de Minyas, 1930 Céphale tue par mégarde sa Femme Procris, 1930 Combat pour Andromède entre Persée et Phinée, 1930 Hercule tue le Centaure Nessus, 1930 Récits de Nestor sur la Guerre de Troie, 1930 Chute de Phaéton avec le Char de Soleil, 1930 Quatre Hommes nus assis, 1931 Joueuses à la balle, 1932 Le Sauvetage I, 1932 Deux Femmes, 1933 Jeu sur la Plage, 1933 Modèle et Sculpture Surréaliste, 1933

TAUREAU ATTAQUANT UN CHEVAL B U L L AT TAC K I N G A H O R S E 1921 Etching on wove paper Signed in red crayon 17.8 x 23.8 cm (7.0 x 9.4 in.)

[Bloch: 44]

The symbolic treatment of the bull and the horse is shown

Exhibition History: Picasso, Braque and Léger: Twentieth Century

in Picasso’s 1921 etching Taureau Attaquant un Cheval.

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

Throughout his career, Picasso made a large number of works depicting the raging bull with the horse lying

Publication History: Picasso: Sixty Years of Graphic Works.

helpless on the ground, isolated from the bullfight as a

Los Angeles County Museum of Art, Exhibition Catalogue,

whole. The massiveness of the attacking bull emphasizes

Plate No. 44/full page illustration, 1966.

the weakness of the horse; the contrast between the bold, dark lines of the bull and the light image of the horse, as well as the different sex of the animals, underscores the conquest. The theme of the dying horse, particularly the angle of its head, had often been used by Picasso before he treated it monumentally in Guernica. We find dying horses in etchings such as in Le Chef- d’Œuvre Inconnu, 1927, Balzac’s The Unknown Masterpiece, and in the Vollard Suite Le Repos du Sculpteur devant des Chevaux et un Taureau, 1933, and Femme Torero, II, 1934.

VISAGE FAC E O F M A R I E-T H É R È S E 1928 Lithograph Signed in pencil: H.C. 1/25 Plus a numbered edition of 200 in pencil (lower left margin) 20.4 x 14.2 cm (8.0 x 5.6 in.)

[Bloch: 95]

This portrait depicts Marie-Thérèse Walter, whom

Curator’s Note: Purchased from the estate of French publisher

Picasso met on a street in Paris in 1927. She was nearly

André Level, Paris [signed and numbered in pencil (Picasso; H.C. 1/25)]. The print was never exhibited until it was shown

thirty years his junior; at the time, he was married with

in Los Angeles and Atlanta in 2013-2014, under the auspices of

a child. Marie-Thérèse Walter became his model and

Contemporary and Modern Print Exhibitions.

muse, appearing in many of his most famous paintings, sculptures and graphic works, including more than thirty

Provenance: Collection of André Level, Paris, FR [Sa collection a

etchings in the Vollard Suite. She and Picasso had one

été en partie dispersée le 3 juin 2010, à Paris, par Sotheby’s].

daughter, Maya Widmaier-Picasso. Their relationship

Exhibition History: Picasso, Braque and Léger: Twentieth

lasted about eight years until 1935, when Picasso met

Century Modern Masters. Forest Lawn Museum, Glendale,

his next mistress, Dora Maar. Picasso painted her as the

CA (Los Angeles County), September 2012-January 2013;

tortured subject in Weeping Woman.

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January 2014; Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016. Publications: Picasso. Published by Les Éditions, Paris, FR, 1928. Book Cover for A Picasso Portfolio: Prints from The Museum of Modern Art, NY. Published in conjunction with the exhibition Picasso: Themes and Variations, organized by Deborah Wye, March 24-September 6, 2010, Catalogue Plate No. 93.

DEUX FEMMES NUES TWO FEMALE NUDES 1930 Les Métamorphoses d’Ovide Etching 31.0 x 22.4 cm (12.2 x 8.8 in.)

[Bloch: 132]

Picasso’s explanation for the style that he chose to create

Exhibition History: Picasso, Braque and Léger: Twentieth

for the images Les Métamorphoses d’Ovide was to state

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

the obvious: Whenever I have had something to say, I

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

have said it in the manner in which I felt it ought to be said.

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September

Different motives inevitably require different methods

2016-November 2016.

of expression. This does not imply either evolution or Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s

progress, but an adaptation of the idea one wants to

Classical Prints of the 1930s. The MIT Press, Cambridge,

express and the means to express that idea.

Massachusetts, 2000. Chapter 2 “Metamorphic Images: Picasso’s Illustrations of Ovid”.

LES FILLES DE MINYAS T H E DAU G H T E R S O F M I N YA S 1930 Les Métamorphoses d’Ovide Etching 31.2 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 106]

Pentheus was a king of Thebes in Greek mythology. After

Exhibition History: Picasso, Braque and Léger: Twentieth

becoming king, one of the first things he did was to ban

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

the worship of the god Dionysus, who was also named

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

Bacchus, the god of wine. Dionysus, enraged, called for all

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September

the women of Thebes to attend a festival to honor him and

2016-November 2016.

his false religious practice. Pentheus’ daughters refused Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s

to attend, showing disrespect to the power of Bacchus.

Classical Prints of the 1930s. The MIT Press, Cambridge,

Not all the Thebians complied, either, when Bacchus’ priest

Massachusetts, 2000. Chapter 2 “Metamorphic Images: Picasso’s

declared a feast day and ordered the women to put away

Illustrations of Ovid,” pp. 14-69, Illustration No. 2.9, p. 27.

their work and worship the god of wine. The daughters of Minyas refused to leave their weaving or allow their servant women to join the festival. As punishment for the daughters of Minyas, Dionysus turned their bodies into ‘dumb fish.’

CÉPHALE TUE PAR MÉGARDE SA FEMME PROCRIS C É P H A L E U N I N T E N T I O N A L LY K I L L S P R O C I S 1930 Les Métamorphoses d’Ovide Etching Signed in pencil 31.2 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 112]

Céphale, in Greek mythology, was fond of woodland sports

Exhibition History: Picasso, Braque and Léger: Twentieth

and loved to hunt. Procris, his young wife, was a favorite

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

of Diana, the goddess of hunting. Diana had given Procris

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

a dog and a javelin which would never fail to hit its mark.

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September

Procris gave these presents to her husband knowing

2016-November 2016.

that it would make him happy. One day, an angry deity Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s

sent a message to Procris that Céphale had turned his

Classical Prints of the 1930s. The MIT Press, Cambridge,

charms toward a maiden in the woods. Procris, refusing to

Massachusetts, 2000. Chapter 2 “Metamorphic Images: Picasso’s

believe the rumor, decided to go into the forest to observe

Illustrations of Ovid,” Illustration 2.23, p. 48.

firsthand what was happening. She hid in a nearby bush where she could hear everything that was said. Céphale came to the spot, tired from hunting, and decided to rest on the bank of a stream and said aloud “Come, sweet breeze, come and fan me; you know how I love you!” At this, Procris began to sob and Céphale, believing that it was a wild animal, threw his javelin at the spot. A cry from the blow told him that the weapon had surely met its mark. Rushing to the place, Céphale found Procris bleeding and dying with little that he could do to save her.

COMBAT POUR ANDROMÈDE ENTRE PERSÉE ET PHINÉE T H E C O M BAT FO R A N D R O M E DA B E T W E E N P E R S E U S A N D P H I N E U S 1930 Les Métamorphoses d’Ovide Etching 31.2 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 108]

Some of Ovid’s mythology recounts the history and stories

Exhibition History: Picasso, Braque and Léger: Twentieth

of ancient events, such as the Trojan war. Picasso drew

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

inspiration from his reading of the mythology. He also

Oglethorpe Museum of Art, Atlanta, GA, September

focused on single events or passages that allowed him to

2013-January 2014; Fort Wayne Museum of Art, Fort Wayne,

express the summation of the myths.

IN, September 2016-November 2016. Publication: Lisa Florman. Myth and Metamorphosis:

In Combat pour Andromède entre Persée et Phinée, 1930,

Picasso’s Classical Prints of the 1930s. The MIT Press,

Picasso’s depiction tells of the beautiful Andromeda,

Cambridge, Massachusetts, 2000. Chapter 2 “Metamorphic

daughter of Cepheus, ruler of the North African kingdom

Images: Picasso’s Illustrations of Ovid,” pp. 14-69, Illustration

of Aethiopia. Her mother, Cassiopeia, boasted that her

No. 2.29, p. 56.

daughter was more beautiful than the Nereids, the nymph daughters of the sea god Nereus. To punish the queen for her arrogance, Poseidon, brother to Zeus and god of the sea, sent a sea monster to the coast of Aethiopia. The desperate king consulted the Oracle of Apollo, who told him that no respite would be found until the king sacrificed his daughter, Andromeda, to the monster. Stripped naked, she was chained to a rock on the coast. In the meantime, Perseus returned from having slain the Gorgon, Medusa. When he happened upon the chained Andromeda, he killed the sea monster and set Andromeda free, then married her in spite of the fact that she had been promised to marry Phineus, her uncle. At the wedding, a quarrel took place between the rivals and Phineus was killed.

HERCULE TUE LE CENTAURE NESSUS H E R C U L E S S L AY I N G N E S S U S 1930 Les Métamorphoses d’Ovide Etching 31.3 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 116]

Hercules, also known as Heracles, is a god from Roman

Exhibition History: Picasso, Braque and Léger: Twentieth

and Greek mythology who embodies strength, masculinity,

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

and courage. Nessus, the centaur, tried to steal away

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

Hercules’ wife. Here, Hercules is depicted defeating

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September

Nessus, only to later be killed by the centaur’s poisonous

2016-November 2016.

blood. This is a typical display of a true hero defeating an Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s

evil villain which illustrates action and movement.

Classical Prints of the 1930s. The MIT Press, Cambridge, Massachusetts, 2000. Chapter 2 “Metamorphic Images: Picasso’s Illustrations of Ovid.” Illustration 2.18, p. 40.

RÉCITS DE NESTOR SUR LA GUERRE DE TROIE N E S TO R R EC I T I N G S TO R I E S F R O M T H E T R O J A N WA R 1930 Les Métamorphoses d’Ovide Etching 31.3 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 122]

In Greek mythology, Nestor of Gerenia was the son

Exhibition History: Picasso, Braque and Léger: Twentieth

of Neleus and Chloris. He became the King of Pylos

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

after Heracles killed Neleus and all of Nestor’s siblings.

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

Nestor was an Argonaut, helped fight the centaurs,

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September

and participated in the hunt for the Calydonian Boar.

2016-November 2016.

He fought on the side of the Archaeans in the Trojan Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s

War. Though Nestor was already very old when the

Classical Prints of the 1930s. The MIT Press, Cambridge,

war began, he was noted for his bravery and speaking

Massachusetts, 2000. Chapter 2 “Metamorphic Images: Picasso’s

abilities. His recounting of the war was valuable since

Illustrations of Ovid.” Illustration 2.7, p. 25.

much of the history was not written down in the 12th or 13th century B.C.

CHUTE DE PHAÉTON AVEC LE CHAR DE SOLEIL P H A E T H O N LO S I N G C O N T R O L O F T H E S U N C H A R I OT 1930 Les Métamorphoses d’Ovide Etching 31.2 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 102]

When Picasso and publisher Albert Skira finally settled on

Exhibition History: Picasso, Braque and Léger: Twentieth

creating a work based on Les Métamorphoses d’Ovide,

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

they chose a narrative comprising nearly 250 separate

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

myths drawn from the ancient stories. Skira asked Picasso

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September

to select thirty myths to illustrate. It was important for

2016-November 2016.

Picasso to conceive a single image that would convey the heart of the subject and theme of the myths. To do this, he relied on the summary expressed by the ancient pottery painters and artists who incised a single illustration, such as those found on the verso of ancient Etruscan mirrors.

TROIS TÊTES D’HOMMES THREE HEADS OF MEN 1931 Les Métamorphoses d’Ovide Etching 38.1 x 30.1 cm (15.0 x 11.9 in.)

[Bloch: 99]

Les Métamorphoses d’Ovide was Picasso’s first publishing

Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s

venture, a collaboration with the Swiss publisher Albert

Classical Prints of the 1930s. The MIT Press, Cambridge, Massachusetts, 2000.

Skira who had never before attempted to create a livre d’artiste. Considering Picasso’s interest and concentration on Cubism and Surrealism, it seems surprising that Skira would pick Picasso to illustrate a book of classical mythology. In the collection of the Musée Picasso, Paris, there are a few unpublished etchings that show early attempts by the artist to compose subjects that related to the poetry themes of Ovid. Picasso found his style after viewing an exhibition of ancient pottery and artifacts at the Louvre in Paris. What seems to have impressed him was the thin-line drawings of the artists of Attic black-figure and red-figure vases and their ancient Italian replicas.

QUATRE HOMMES NUS ASSIS FO U R M E N AT T H E I R BAT H 1931 Les Métamorphoses d’Ovide Etching 38.0 x 30.1 cm (15.0 x 11.9 in.)

[Bloch: 111]

In the ancient world, Greeks and Romans built elaborate

Exhibition History: Picasso, Braque and Léger: Twentieth

bath facilities in their cities that became important centers

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

not just as sites for public bathing and relaxation, but

Oglethorpe Museum of Art, Atlanta, GA, September

also as gathering places for important meetings and

2013-January 2014; Fort Wayne Museum of Art, Fort Wayne,

conversations.

IN, September 2016-November 2016. Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s Classical Prints of the 1930s. The MIT Press, Cambridge, Massachusetts, 2000. Chapter 2 “Metamorphic Images: Picasso’s Illustrations of Ovid.”

JOUEUSES À LA BALLE P L AY I N G BA L L O N T H E B E AC H ( I M AG E O F M A R I E-T H É R È S E WA LT E R ) 1932 Les Métamorphoses d’Ovide Copper, drypoint on Montval laid paper Signed in ink 11.1 x 11.1 cm (4.37 x 4.37 in.)

[Bloch: 243]

Curator’s Note: This rare image is one of two ballplayer images that Picasso produced in 1932, and one of eleven etchings executed in this line-style between November 1932 and February 1933. They are among the most perplexing images made by Picasso after his cubist period (1909-1917). Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

LE SAUVETAGE I THE RESCUE 1932 Etching on Montval laid paper Signed in pencil 16.0 x 19.4 cm (6.3 x 7.6 in.)

[Bloch: 244]

Picasso’s return to Surrealism in the early 1930s drew

Exhibition History: Picasso, Braque and Léger: Twentieth Century

attention to his activities, mostly from his experiences

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

in the South of France and his relationship with MarieThérèse Walter. It is the image of Marie-Thérèse when she was still in her early twenties that is most often seen in these works. Picasso incorporates her image in several beach scenes: playing ball, participating in the saving of a drowning victim, posing for a portrait and engaging in conversation with a visitor who is reading or reciting passages from a book in Deux Femmes (The Visit), 1933.

DEUX FEMMES TWO FEMALES READING (THE VISIT) 1933 Etching on Montval laid paper 22.6 x 31.8 cm (8.9 x 12.5 in.)

[Bloch: 251]

Listed as one of 200 masterworks in the collection

Exhibition History: Picasso, Braque and Léger: Twentieth

at the Picasso Musée in Paris, this rare work, Deux

Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013;

Femmes, 1933, is one of the great Surrealist works of

Oglethorpe Museum of Art, Atlanta, GA, September 2013-January

the twentieth century.

2014; Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

JEU SUR LA PLAGE P L AY I N G O N T H E B E AC H ( I M AG E S O F M A R I E-T H É R È S E WA LT E R ) 1933 Copper, drypoint on vergé ancien laid paper Signed in pencil There is also a numbered edition of 50 printed on Montval laid paper 28.0 x 17.9 cm (11.0 x 7.0 in.)

[Bloch: 254]

This etching is unique in that it is one of a few impressions

Curator’s Note: Jeu sur la Plage shows three images of Marie-

printed on very old French vergé ancien laid paper. This

Thérèse Walter playing ball at the beach. She was Picasso’s model and mistress who bore him a daughter, Maya (Maria de

print is only one of four trial proofs that Picasso made and

la Concepcion) eight years after they met. Picasso led a double

signed in pencil, and presented to master printer Jacques

life until 1934, keeping his affair from Olga, his wife, until Marie-

Frélaut.

Thérèse became pregnant. Marie-Thérèse was the inspiration for many of Picasso’s Vollard Suite etchings, though this print was not one that was included in the set. Provenance: Estate of master printer Jacques Frélaut and presented to Frélaut by the artist. A document from the estate is preserved on the verso. Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013; Oglethorpe Museum of Art, Atlanta, GA, September 2013-January 2014; Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

MODÈLE ET SCULPTURE SURRÉALISTE MODEL AND SURREALIST SCULPTURE 1933 Vollard Suite No. 54 Copper, etching on Montval laid paper Signed in pencil 26.8 x 19.3 cm (10.6 x 7.6 in.)

[Bloch: 187]

Curator’s Note: André Breton, a French writer, poet, and anarchist, was best known as the founder of Surrealism. His writings include the first Surrealist Manifesto, published in 1924, that attracted the interest and attention of Picasso. Although Picasso did not officially identify with the Surrealist Movement until 1925, he took part in the first group exhibition La Peinture Surrealiste, in Paris. However, Surrealism was not the only focused style practiced by Picasso. He also devoted time to Classicism and neoclassical ideas during the same period. Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

riginally, when the Parisian art dealer and

In the Vollard Suite, Picasso recast himself as the

publisher, Ambroise Vollard, commissioned

classicized sculptor. Often the etchings show the artist

Picasso to make one hundred etchings for the

reflecting on his work with intense concentration.

Vollard Suite, it was Vollard’s hope that Picasso would

He is seen reclining with the model, not always focused

make all of the images based on the single theme of

on her identity.

‘The Sculptor’s Studio.’ The commission was given to the painter in 1930 and completed seven years later in 1937. The theme of the sculptor and model was to become his greatest and largest series of graphic works. Though not known in the beginning, it would unveil much about Picasso’s activities, his work and his life. Almost from the very beginning, the classical profile of Marie-Thérèse Walter, his young mistress and muse, became the presiding motif in his work. Then, in 1931, he reveals for the first time the plaster sculptures that he made in his studio at the Château de Boisgeloup, which he purchased just forty-five miles outside of Paris. The subject of Marie-Thérèse is the dominant theme of the plaster sculptures.

4 VOLLARD SUITE AND THE SCULPTOR’S STUDIO Femme nue couronnée de Fleurs, 1930 Femmes se Reposant, 1931 Sculpteur, Modèle et Sculpture assise, 1933 Le Repos du Sculpteur II, 1933 Modèle contemplant un Groupe Sculpté, 1933 Modèle et Grande Sculpture de Dos, 1933 Rembrandt à la Palette, 1934 Femme nue assise la Téte Appuyée sur la Main, 1934 Quatre Femmes nues et Tête Sculptée, 1934 Femme Torero, II, 1934 Le Garçon et Dormeuse à la Chandelle, 1934

FEMME NUE COURONNÉE DE FLEURS N U D E W I T H C O R O N E T O F F LO W E R S 1930 Les Métamorphoses d’Ovide Etching printed on Montval laid paper Signed in pencil 31.4 x 22.3 cm (12.4 x 8.8 in.)

[Bloch: 134]

Provenance: Leslie Sacks Collection, Los Angeles, CA. Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Oglethorpe Museum of Art, Atlanta, GA, September 2013-January 2014; Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016. Publication: Lisa Florman. Myth and Metamorphosis: Picasso’s Classical Prints of the 1930s. The MIT Press, Cambridge, Massachusetts, 2000. Chapter 2 “Metamorphic Images: Picasso’s Illustrations of Ovid.”

FEMMES SE REPOSANT WOMEN IN REPOSE 1931 Vollard Suite No. 10 Copper, etching on Montval laid paper Signed in pencil 30.0 x 36.5 cm (11.8 x 14.4 in.)

[Bloch: 143]

Femmes au Repos is considered to be one of the major

Provenance: Marc Rosen and Susan Pinsky Collection,

works in the Vollard Suite. It depicts two nude models, one

New York, NY.

seated and one reclining in a restful pose.

Exhibition History: Picasso, Braque and LĂŠger: Twentieth Century Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles County), September 2012-January 2013; Oglethorpe Museum of Art, Atlanta, GA, September 2013-January 2014; Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

SCULPTEUR, MODÈLE ET SCULPTURE ASSISE M O D E L , S C U L P TO R A N D S C U L P T U R E O F S E AT E D F I G U R E 1933 Vollard Suite No. 13 Copper, drypoint on Montval laid paper Signed in pencil 31.8 x 18.5 cm (12.5 x 7.3 in.)

[Bloch: 146]

The sculptor in the studio stands in front of a carved

Exhibition History: Picasso, Braque and Léger: Twentieth Century

sculpture which bears the likeness of Marie-Thérèse. In

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

1927, Picasso was married to Olga Khokhlova, a Russian ballet dancer whom he had met in Italy while he was designing sets and costumes for the Ballet Russes in 1916. Olga and Pablo lived a life of conflict. She was of high society and enjoyed formal events, while Picasso was bohemian in his interests and pursuits. In 1927, Picasso began an affair with seventeen-year-old Marie-Thérèse Walter. Olga learned of the affair after Maria-Thérèse became pregnant. Olga left Picasso, taking her young son, Paulo, with her and moved to the south of France, then filed for a divorce. However, Picasso refused to divide his property evenly with her as required by French law, so Olga stayed legally married to him until her death in 1955.

LE REPOS DU SCULPTEUR II S C U L P TO R A N D M O D E L R EC L I N I N G , I I 1933 Vollard Suite No. 39 Etching on Montval laid paper Signed in pencil 19.3 x 26.7 cm (7.6 x 10.5 in.)

[Bloch: 172]

Picassoâ&#x20AC;&#x2122;s image of the sculptor and his model in repose,

Provenance: Leslie Sacks Collection, Los Angeles, CA.

with a landscape and bust of a sculpted head on a nearby

Exhibition History: Picasso, Braque and LĂŠger: Twentieth Century

pedestal, is one of the alluring images in the Vollard Suite.

Modern Masters. Oglethorpe Museum of Art, Atlanta, GA,

The composition and drypoint line is masterfully executed

September 2013-January 2014; Fort Wayne Museum of Art,

in a way that communicates its every quality and pleasing

Fort Wayne, IN, September 2016-November 2016.

submission.

100

MODÈLE CONTEMPLANT UN GROUPE SCULPTÉ M O D E L C O N T E M P L AT I N G S C U L P T U R E D G R O U P 1933 Vollard Suite No. 42 Copper, etching on Montval laid paper Signed in pencil 29.7 x 36.7 cm (11.7 x 14.4 in.)

[Bloch: 175]

With the image of a kneeling figure in the likeness of

Provenance: Marc Rosen and Susan Pinsky Collection, New York, NY.

Marie-Thérèse, this etching shows its ambitious subject

Exhibition History: Picasso, Braque and Léger: Twentieth Century

matter. A model looks at a sculpture of a horse that is

Modern Masters. Forest Lawn Museum, Glendale, CA (Los Angeles

rearing up with a groom and three females, one of which

County), September 2012-January 2013; Oglethorpe Museum

appears to be attempting to mount the animal with two

of Art, Atlanta, GA, September 2013-January 2014; Fort Wayne

on-lookers in the background.

Museum of Art, Fort Wayne, IN, September 2016-November 2016.

102

MODÈLE ET GRANDE SCULPTURE DE DOS M O D E L A N D BAC K V I E W O F L A R G E S C U L P T U R E 1933 Vollard Suite No. 53 Copper, etching and scraper on Montval laid paper 26.8 x 19.2 cm (10.6 x 7.6 in.)

[Bloch: 186]

Considered to be one of the strongest etchings in the

Provenance: Dalzel Hatfield Estate, Los Angeles, CA.

Vollard Suite, this powerful composition and bold form

Exhibition History: Picasso: Sixty Years of Graphic Works.

demonstrates Picasso’s great ability as a printmaker;

Los Angeles County Museum of Art, 1966.

he understood the limits and possibilities of the

Picasso, Braque and Léger: Twentieth Century Modern

medium of etching.

Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016. Publication History: Picasso: Sixty Years of Graphic Works. Los Angeles County Museum of Art, Exhibition Catalogue, Plate No. 152, 1966.

104

REMBRANDT À LA PALETTE R E M B R A N DT W I T H H I S PA L E T T E 1934 Vollard Suite No. 75 Copper, etching on Montval laid paper 27.8 x 19.8 cm (10.9 x 7.8 in.)

[Bloch: 208]

Picasso had long admired the work and technical detail of

Exhibition History: Picasso, Braque and Léger: Twentieth Century

Rembrandt in the art of etching, as well as his compositions

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

and attention to his painting subjects. Picasso made three etchings for inclusion in the Vollard Suite paying homage to Rembrandt, including Rembrandt à la Palette, 1934, that is considered one of his finest etchings. “I don’t paint what I see,” Picasso was given to say. “I paint what I know.” Art historians have long believed that the Dutch draftsman, painter and printmaker, Rembrandt, who was a prolific and versatile master across three mediums, must have felt the same way.

106

FEMME NUE ASSISE LA TÊTE APPUYÉE SUR LA MAIN S E AT E D N U D E W I T H H E R H E A D R E S T I N G O N H E R H A N D 1934 Vollard Suite No. 85 Copper, burin on Montval laid paper 27.8 x 19.8 cm (10.9 x 7.8 in.)

[Bloc: 218]

This image of Marie-Thérèse is again an indicator of

Exhibition History: Picasso, Braque and Léger: Twentieth

Picasso’s commitment to creating works of art with great

Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

artistic expression and commitment to the power of the line in creating form. The figure is Marie-Thérèse seated in

Publication History: Deborah Wye. A Picasso Portfolio:

an arm chair with her right elbow resting on her left hand

Prints from The Museum of Modern Art. Published by

while her head rests on the back of her right hand. The

The Museum of Modern Art, Plate No. 96, p. 126, March 28,

genius of line used by Picasso makes no mistake in the

2010-September 6, 2010. Stephen Coppel. Picasso Prints: The Vollard Suite. British

identification of the model as his young lover.

Museum Press, Plate No. 21, p. 69, 2012.

108

QUATRE FEMMES NUES ET TÊTE SCULPTÉE FO U R F E M A L E N U D E S A N D S C U L P T E D H E A D 1934 Vollard Suite No. 86 Copper, etching and burin on Montval laid paper Signed in pencil 22.3 x 31.6 cm (8.8 x 12.4 in.)

[Bloch: 219]

Picasso’s composition Quatre Femmes nues et Tête

Exhibition History: Picasso, Braque and Léger: Twentieth

Sculptée, (Four Female Nudes and Sculpted Head) is

Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

considered by art historians as a pivotal work of art in his career. In 1934, Picasso’s mistress Marie-Thérèse became

Publication History: Deborah Wye. A Picasso Portfolio:

pregnant and his wife Olga Khokhlova found out about

Prints from The Museum of Modern Art. Published by

his eight-year affair. Obviously, this was a distressing

The Museum of Modern Art, Plate No. 96, p. 126, March 28,

matter for Picasso to deal with as Olga took their son

2010-September 6, 2010. Stephen Coppel. Picasso Prints: The Vollard Suite. British

Paulo and left Picasso, asking for a divorce that he

Museum Press, Plate No. 21, p. 69, 2012.

refused to give her. His art began to show darker images as observed in works like Quatre Femmes nues et Tête Sculptée, 1934, and Le Garçon et Dormeuse à la Chandelle (Youth and Sleeping Woman by Candlelight), 1934.

110

FEMME TORERO, II WOMAN BULLFIGHTER [ I M AG E O F M A R I E-T H É R È S E WA LT E R W I T H A B U L L AT TAC K I N G A H O R S E ] 1934 Vollard Suite No. 87 Copper, etching on Montval laid paper Signed in pencil 29.7 x 23.6 cm (11.7 x 9.3 in.)

[Bloch: 220]

Curator’s Note: Picasso depicted the horse and bull in twentyseven prints, of which sixteen are Minotaur subjects in the Vollard Suite. In addition to Minotaur images, the most important etching is Female Torero, II. The etching shows a scene in the arena with the bull attacking the horse and the female bullfighter being tossed into the air. The female figure is depicted in the image of Picasso’s model and muse, MarieThérèse Walter, at age twenty-four. Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

112

LE GARÇON ET DORMEUSE À LA CHANDELLE YO U T H A N D S L E E P I N G W O M A N BY C A N D L E L I G H T 1934 Vollard Suite No. 93 Copper, etching and aquatint on Montval laid paper Signed in pencil 23.7 x 30.0 cm (9.3 x 11.8 in.)

[Bloch: 226]

Curator’s Note: After 1934, Picasso’s prints began to appear darker and the subjects are more turbulent and violent in their appearance. Le Garçon et Dormeuse à la Chandelle was made at the beginning of Marie-Thérèse’s pregnancy, which also marked the end of Picasso’s marriage to Olga. It is this print of a young boy seated beside the figure of a sleeping muse that marks a major turning point in Picasso’s life, although here, one can observe that the night is still and comforting. The mood projects some striking effects that Picasso creates and evokes the sumptuous light of Rembrandt’s etchings. The subject and image is reminiscent of an etching created by Rembrandt 275 years earlier titled Jupiter and Antiope, 1659, one of the darkest of all of Rembrandt’s etchings. Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

114

here are three stages that can be identified in

Aside from its high value, La Minotauromachie is perhaps

Picasso’s treatment of his Minotaur subject. These

the most important graphic work on paper ever. The

are evidenced by the works that Picasso included

genius of Picasso runs deep in every line of the image,

in the Vollard Suite; the print that he produced with

not just because of the technical skills applied, but also

eight states titled La Minotauromachie; and Guernica,

because of the subject and composition, in addition to

although technically, the bull image in Guernica is not a

the social and emotional impact that it makes.

Minotaur (half man and half bull), yet it is the result of Picasso’s contemplation of the subject that he worked on between 1934 and 1937. La Minotauromachie is clearly Picasso’s masterpiece in printmaking and should be held in high esteem along with Guernica, 1937, and Les Demoiselles d’Avignon, 1907, especially if it is exhibited with all eight states. This might be nearly impossible since a single print (one of the eight states) would be prohibitive in cost for most art collectors.

116

5 THE MINOTAUR Minotaure Mourant, 1933 Minotaure aveugle guidé par une Fillette, I, 1934 Minotaure aveugle guidé par une Fillette, II, 1934 Minotaure aveugle guidé par une Fillette dans la Nuit, 1934 Taureau ailé contemplé par Quatre Enfants, 1934 Sueño y Mentira de Franco I, 1937 Sueño y Mentira de Franco II, 1937

117

118

MINOTAURE MOURANT DY I N G M I N OTAU R (O B S E RV E D BY M O RTA L S F R O M AT H E N S ) 1933 Vollard Suite No. 65 Copper, etching on Montval laid paper 19.6 x 26.8 cm (7.7 x 10.6 in.)

[Bloch: 198]

Theseus, son of King Aegeus, boasted to his father and

Provenance: Dalzel Hatfield Estate, Los Angeles, CA.

to all of Athens that he would slay the Minotaur that was

Exhibition History: Picasso 60 Years of Graphic Works.

said to live in a labyrinth beneath the palace in Crete.

Los Angeles County Museum of Art, October 25,

When he arrived at the island, Minosâ&#x20AC;&#x2122; daughter, Ariadne,

1966-December 25, 1966.

fell deeply in love with Theseus and helped him navigate

Picasso, Braque and LĂŠger: Twentieth Century Modern

the labyrinth. In most accounts, she gave him a ball of

Masters. Fort Wayne Museum of Art, Fort Wayne, IN,

thread, allowing him to retrace his path. Theseus was

September 2016-November 2016.

successful in slaying the Minotaur and in rescuing from

Publication History: Picasso 60 Years of Graphic Works.

the labyrinth the captive Athenians who were destined to

Los Angeles County Museum of Art, 1966, Exhibition

be sacrificed to the Minotaur.

Catalogue, Plate No. 166; Fort Wayne Museum of Art, Fort Wayne, IN, 2016-2017.

120

MINOTAURE AVEUGLE GUIDĂ&#x2030; PAR UNE FILLETTE, I B L I N D M I N OTAU R L E D BY A YO U N G G I R L , I 1934 Vollard Suite No. 89 Copper, etching and burin on Montval laid paper Signed in pencil 25.2 x 34.8 cm (9.9 x 13.7 in.)

[Bloch: 222]

This highly important etching is actually two different

Exhibition History: Picasso, Braque and LĂŠger: Twentieth Century

etchings, both printed on the same plate, which adds to

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

its intrigue and purpose. The smaller image was printed first as the cover for a book of poems. The larger etching deals with the subject of the blind Minotaur being led by a young girl holding a bouquet of flowers. It is, however, the smaller etching that draws attention to its inclusion in the Vollard Suite of prints. The etching is printed upside down as seen when looking at the Minotaur. What the etching shows is a canceled plate that reveals a man who has been murdered in his bath as an assassin stands behind him holding a knife. The murder relates to a French Revolutionary event. Jean-Paul Marat, a French political theorist, was best known for his role as a radical journalist and politician. Marat expressed his views with harsh tone and took an uncompromising stance towards the new leaders and institutions of the revolution. Because of a rare skin condition, he often took therapeutic baths during the day. His assassin was a political sympathizer who campaigned for the end of the French monarchy.

122

MINOTAURE AVEUGLE GUIDÉ PAR UNE FILLETTE, II B L I N D M I N OTAU R L E D BY A YO U N G G I R L , I I 1934 Vollard Suite No. 90 Copper, etching on Montval laid paper Signed in pencil 23.9 x 30.0 cm (9.4 x 11.8 in.)

[Bloch: 223]

The blind Minotaur was Picasso’s invention. He had a

Exhibition History: Picasso, Braque and Léger: Twentieth Century

lifelong fear of losing his eyesight and, while still in his

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

twenties, made several images of people who were blind, including his first etching Le Repas Frugal, 1904. Picasso depicted the solitude of the blind man seated at a table that shows bread and wine for the couple’s meager meal, reflective of the lifestyle that they had become accustomed to because of their circumstances.

124

MINOTAURE AVEUGLE GUIDÉ PAR UNE FILLETTE DANS LA NUIT B L I N D M I N OTAU R L E D BY A YO U N G G I R L AT N I G H T 1934 Vollard Suite No. 92 Aquatint, mezzotint, drypoint and engraving printed on Montval laid paper with watermark Signed in pencil (Picasso) from the edition of 310 24.7 x 34.7 cm (9.7 x 13.7 in.)

[Bloch: 225]

This is perhaps the most important Minotaur print in the

Exhibition History: Picasso, Braque and Léger: Twentieth Century

series aside from La Minotauromachie, 1935, which was

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

not included in the Vollard Suite but printed separately in eight states. Nevertheless, Minotaure aveugle guidé par une Fillette dans la Nuit is a major masterpiece and an important addition to Picasso’s repertoire. He used all of his abilities, skills and devices, including those that he was able to invent, to develop the drama of the scene. He evoked every element imaginable, including the stars in the sky and the image of his twenty-five-yearold mistress, Marie-Thérèse. She holds a white dove as she leads the blinded monster to freedom, suggesting an end to her relationship with Picasso after he moved on to his next mistress, Dora Maar. In the background, Picasso shows sailors hoisting a white sail to the mast. In Greek Mythology, Theseus, son of King Aegeus of Athens, vowed to kill the Minotaur and set sail for the island of Crete where King Minos kept the dreadful monster in a specially configured labyrinth under the palace. Theseus was successful in slaying the beast and returned home to Athens, forgetting that he told his father that if he was successful in his mission, he would hoist a black sail. However, if he failed, his crew would sail under a white sail. When the ship was in sight of land, Aegeus looked out only to see the white sail and, in his distress, threw himself from a cliff into the sea. 126

TAUREAU AILÉ CONTEMPLÉ PAR QUATRE ENFANTS W I N G E D M O N S T E R ( B U L L ) C O N T E M P L AT I N G FO U R C H I L D R E N 1934 Vollard Suite No. 96 Copper, etching on Montval laid paper Signed in pencil 23.8 x 29.8 cm (9.4 x 11.7 in.)

[Bloch: 229]

Although the subject in this work is not officially

Exhibition History: Picasso, Braque and Léger: Twentieth Century

identified as a Minotaur (half man and half beast), it is

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

connected to the same theme. The monster, with the head of a bull, observes the girls who are ‘sacrificial victims’ as the story of the Minotaur reveals. The Winged Monster print is popular among Picasso collectors and it is one of the strongest examples of his etching ability in the Vollard Suite.

128

SUEÑO Y MENTIRA DE FRANCO I THE DREAM AND LIE OF FRANCO I 1937 Aquatint on Chine Signed in pencil 31.0 x 42.0 cm (12.2 x 16.5 in.)

[Bloch: 297]

Picasso made two etchings in 1937 using the same title:

Exhibition History: Picasso, Braque and Léger: Twentieth Century

Slueño y Mentira de Franco (The Dream and Lie of

Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016.

Franco). He created the works as protest to the bombing of Guernica by German planes sent to aid General Franco’s suppression of the Basque leadership that opposed the Spanish Nationalist party. Picasso intended the prints to be cut into postcards and distributed in connection with the unveiling of his painting Guernica at the World’s Fair held in Paris, in 1937, just weeks following the bombing.

130

SUEÑO Y MENTIRA DE FRANCO II THE DREAM AND LIE OF FRANCO II 1937 Aquatint on Chine Signed in pencil 31.0 x 42.0 cm (12.2 x 16.5 in.)

[Bloch: 298]

Exhibition History: Picasso, Braque and Léger: Twentieth Century Modern Masters. Fort Wayne Museum of Art, Fort Wayne, IN, September 2016-November 2016. Publication: Picasso: From the Musée Picasso, Paris. Published by Walker Art Center, Minneapolis, Minnesota, Exhibition Catalogue, February 10-March 30, 1980, Illustration p. 74.

132

“A r t i s n o t t h e a p p l i c a t i o n o f a c a n o n o f b e a u t y b u t w h a t t h e i n s t i n c t a n d t h e b ra i n c a n c o n c e i ve b e y o n d a n y c a n o n .” – PABLO PICASSO

134

CHECKLIST

136

1. Le Repas Frugal, 1904

7. Deux figures nues, 1909

13. Femme nue, 1914

(The Frugal Meal)

(Female Nude with Mandolin

(Female Nude)

Etching on Van Gelder wove paper

and Boy with Cup)

Drypoint on Van Gelder laid paper

Refurbished zinc plate

Drypoint etching printed on Arches

15.6 x 11.6 cm (6.1 x 4.6 in.)

46.3 x 37.7 cm (18.2 x 14.8 in.)

laid paper

[Bloch: 25]

[Bloch: 1]

13.0 x 11.0 cm (5.1 x 4.3 in.)

[Bloch: 17]

14. Nature morte au Crâne, 1914

(Still Life with Skull)

(The Poor)

8. Mademoiselle Léonie, 1910

Max Jacob / Le Siege de Jérusalem

Etching on Van Gelder paper

(Mme. Léonie)

Drypoint on Van Gelder laid paper

23.6 x 18.0 cm (9.3 x 7.1 in.))

Max Jacob / Saint Matorel

15.4 x 11.4 cm (6.1 x 4.5 in.)

[Bloch: 3]

Drypoint on Van Gelder laid paper

[Bloch: 26]

20.0 x 14.1 cm (7.9 x 5.6 in.)

[Bloch: 19]

2. Les Pauvres, 1905

3. Les Deux Saltimbanques, 1905

15. Femme, 1914

(Two Acrobats)

Etching and drypoint on copper

9. La Table, 1910

(Woman)

Max Jacob / Le Siege de Jérusalem

Printed on Van Gelder wove paper

(The Table, The Dressing Table)

Drypoint on Van Gelder laid paper

12.2 x 9.1 cm (4.8 x 3.6 in.)

Max Jacob / Saint Matorel

16.0 x 10.9 cm (6.3 x 4.3 in.)

[Bloch: 5]

Drypoint on Van Gelder laid paper

[Bloch: 27]

20.0 x 14.2 cm (7.9 x 5.6 in.)

[Bloch: 20]

16. L’Homme au Chapeau, 1914-1915

4. L’Abreuvoir, 1905

(The Trough)

(Head of a Man with Hat)

Drypoint printed on Van Gelder

10. Mademoiselle Léonie dans

Drypoint etching on Arches laid paper

wove paper

une Chaise Longue, 1910

6.8 x 5.5 cm (2.7 x 2.2 in.)

12.2 x 18.8 cm (4.8 x 7.4 in.)

(Mme. Léonie in a Chaise Lounge)

[Bloch: 29]

[Bloch: 8]

Max Jacob / Saint Matorel

Drypoint on Van Gelder laid paper

5. Le Bain, 1905

19.8 x 14.2 cm (7.8 x 5.6 in.)

17. Taureau Attaquant un Cheval, 1921

[Bloch: 21]

(Bull Attacking a Horse) Etching on wove paper

(The Bath)

Drypoint on copper plate

17.8 x 23.8 cm (7.0 x 9.4 in.)

Printed on Van Gelder wove paper

11. Le Couvent, 1910

[Bloch: 44]

34.4 x 28.9 cm (13.5 x 11.4 in.)

(Convent of Saint Matorel)

[Bloch: 12]

Max Jacob / Saint Matorel

Drypoint on Van Gelder laid paper

18. Visage, 1928

20.0 x 14.1 cm (7.9 x 5.6 in.)

[Bloch: 22]

Lithograph

6. La Toilette de la Mère, 1905

(Face of Marie-Thérèse)

(Mother Washing her Hair)

20.4 x 14.2 cm (8.0 x 5.6 in.)

Etching and scraper on zinc plate

[Bloch: 95]

Printed on Van Gelder wove paper

12. Tête d’Homme, 1912

23.5 x 17.6 cm (9.3 x 6.9 in.)

(Head of a Man with Pipe)

[Bloch: 13]

Etching on Arches laid paper

19. Deux Femmes Nues, 1930

13.0 x 11.0 cm (5.1 x 4.3 in.)

[Bloch: 23]

Etching

137

(Two Female Nudes]

31.0 x 22.4 cm (12.2 x 8.8 in.)

[Bloch: 132]

20. Les Filles de Minyas, 1930

25. Chute de Phaéton avec le Char

31. Jeu sur la Plage, 1933

(The Daughters of Minyas)

de Soleil, 1930

(Playing [ball] on the Beach)

Les Métamorphoses d’Ovide

(Phaethon Losing Control

Copper, drypoint on vergé ancien

Etching

of the Sun Chariot)

laid paper

31.2 x 22.4 cm (12.3 x 8.8 in.)

Les Métamorphoses d’Ovide

28.0 x 17.9 cm (11.0 x 7.0 in.)

[Bloch: 106]

Etching

[Bloch: 254]

31.2 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 102]

21. Céphale tue par mégarde

32. Modèle et Sculpture Surréaliste, 1933

sa Femme Procris, 1930

(Model and Surrealist Sculpture)

(Céphale Unintentionally Kills Procis)

26. Trois Têtes d’Hommes, 1931

Vollard Suite No. 54

Les Métamorphoses d’Ovide

(Three Heads of Men)

Copper, etching on Montval laid paper

Etching

Les Métamorphoses d’Ovide

26.8 x 19.3 cm (10.6 x 7.6 in.)

31.2 x 22.4 cm (12.3 x 8.8 in.)

Etching

[Bloch: 187]

[Bloch: 112]

38.1 x 30.1 cm (15.0 x 11.9 in.)

[Bloch: 99]

33. Femme nue couronnée

de Fleurs, 1930

Persée et Phinée, 1930

27. Quatre Hommes nus assis, 1931

(Nude with Coronet of Flowers)

(The Combat for Andromeda Between

(Four Men at their Bath)

Etching printed on Montval laid paper

Perseus and Phineus)

Les Métamorphoses d’Ovide

31.4 x 22.3 cm (12.4 x 8.8 in.)

Les Métamorphoses d’Ovide

Etching

[Bloch: 134]

22. Combat pour Andromède entre

Etching

38.0 x 30.1 cm (15.0 x 11.9 in.)

31.2 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 111]

[Bloch: 108]

34. Femmes se Reposant, 1931

(Women in Repose)

28. Joueuses à la balle, 1932

Vollard Suite No. 10

23. Hercule tue le Centaure Nessus, 1930

(Playing Ball on the Beach)

Copper, etching on Montval laid paper

(Hercules Slaying Nessus)

Les Métamorphoses d’Ovide

30.0 x 36.5 cm (11.8 x 14.4 in.)

Les Métamorphoses d’Ovide

Copper, drypoint on Montval laid paper

[Bloch: 143]

Etching

11.1 x 11.1 cm (4.37 x 4.37 in.)

31.3 x 22.4 cm (12.3 x 8.8 in.)

[Bloch: 243]

[Bloch: 116]

35. Sculpteur, Modèle et Sculpture assise, 1933 29. Le Sauvetage I, 1932

(Model, Sculptor and Sculpture

24. Récits de Nestor sur la Guerre

(The Rescue)

of Seated Figure)

de Troie, 1930

Etching on Montval laid paper

Vollard Suite No. 13

(Nestor Reciting Stories from

16.0 x 19.4 cm (6.3 x 7.6 in.)

Copper, drypoint on Montval

the Trojan War)

[Bloch: 244]

laid paper

Les Métamorphoses d’Ovide

31.8 x 18.5 cm (12.5 x 7.3 in.)

[Bloch: 146]

Etching

31.3 x 22.4 cm (12.3 x 8.8 in.)

30. Deux Femmes, 1933

[Bloch: 122]

(Two Females Reading – ‘The Visit’)

Etching on Montval laid paper

36. Le Repos du Sculpteur II, 1933

22.6 x 31.8 cm (8.9 x 12.5 in.)

(Sculptor and Model Reclining, II)

[Bloch: 251]

Vollard Suite No. 39

Etching on Montval laid paper

19.3 x 26.7 cm (7.6 x 10.5 in.)

[Bloch: 172]

138

37. Modèle contemplant un Groupe

42. Femme Torero, II, 1934

47. Minotaure aveugle guidé par

Sculpté, 1933

(Woman Bullfighter)

une Fillette dans la Nuit, 1934

[Image of Marie-Thérèse Walter

(Blind Minotaur Led by a Young

Group)

with a bull attacking a horse]

Girl at Night)

Vollard Suite No. 42

Vollard Suite No. 87

Vollard Suite No. 92

Copper, etching on Montval laid paper

Aquatint, mezzotint, drypoint and engraving

29.7 x 36.7 cm (11.7 x 14.4 in.)

29.7 x 23.6 cm (11.7 x 9.3 in.)

Printed on Montval laid paper with

[Bloch: 175]

[Bloch: 220]

watermark

(Model Contemplating Sculptured

38. Modèle et Grande Sculpture

43. Le Garçon et Dormeuse

de Dos, 1933

à la Chandelle, 1934

(Model and Back View of Large

24.7 x 34.7 cm (9.7 x 13.7 in.)

[Bloch: 225]

(Youth and Sleeping Woman

48. Taureau ailé contemplé par

Sculpture)

by Candlelight)

Quatre Enfants, 1934

Vollard Suite No. 53

Vollard Suite No. 93

(Winged Monster [bull] Contemplating

Copper, etching and scraper on

Copper, etching and aquatint on

Four Children)

Montval laid paper

Vollard Suite No. 96

26.8 x 19.2 cm (10.6 x 7.6 in.)

23.7 x 30.0 cm (9.3 x 11.8 in.)

Copper, etching on Montval laid paper

[Bloch: 186]

[Bloch: 226]

23.8 x 29.8 cm (9.4 x 11.7 in.)

[Bloch: 229]

39. Rembrandt à la Palette, 1934

44. Minotaure Mourant, 1933

(Rembrandt with his Palette)

(Dying Minotaur)

49. Sueño y Mentira de Franco I, 1937

Vollard Suite No. 75

Vollard Suite No. 65

(The Dream and Lie of Franco)

Copper, etching on Montval laid paper

Aquatint on Chine

27.8 x 19.8 cm (10.9 x 7.8 in.)

19.6 x 26.8 cm (7.7 x 10.6 in.)

31.0 x 42.0 cm (12.2 x 16.5 in.)

[Bloch: 208]

[Bloch: 198]

[Bloch: 297]

40. Femme nue assise, la Téte Appuyée

45. Minotaure aveugle guidé

50. Sueño y Mentira de Franco II, 1937

sur la Main, 1934

par une Fillette, I, 1934

(The Dream and Lie of Franco)

(Seated Nude with Her Head Resting

(Blind Minotaur Led by a Young Girl, I)

Aquatint on Chine

on Her Hand)

Vollard Suite No. 89

31.0 x 42.0 cm (12.2 x 16.5 in.)

[Image of Marie-Thérèse]

Copper, etching and burin on

[Bloch: 298]

Vollard Suite No. 85

Montval laid paper

Copper, burin on Montval laid paper

25.2 x 34.8 cm (9.9 x 13.7 in.)

27.8 x 19.8 cm (10.9 x 7.8 in.)

[Bloch: 222]

[Bloch: 218]

46. Minotaure aveugle guidé 41. Quatre Femmes nues et Tête

Sculptée, 1934

par une Fillette, II, 1934 (Blind Minotaur Led by a Young Girl, II)

(Four Female Nudes and Sculpted Head)

Vollard Suite No. 90

Vollard Suite No. 86

Copper, etching on Montval laid paper

Copper, etching and burin on

23.9 x 30.0 cm (9.4 x 11.8 in.)

Montval laid paper

[Bloch: 223]

22.3 x 31.6 cm (8.8 x 12.4 in.)

[Bloch: 219]

139

SELECTED BIBLIOGRAPHY

140

Baer, Brigitte. Picasso The Printmaker: Graphics from the Marina Picasso Collection. Dallas Museum of Art, 1983. Bloch, Georges. Picasso: Catalogue [Raisonné] of the printed graphic work 1904-1967. Editions Kornfeld & Klipstein, Berne, 1968. Carmean, Jr., E.A. Picasso: The Saltimbanques. National Gallery of Art, Washington, 1980. Caws, Mary Ann. Pablo Picasso (Critical Lives Series). Published by Reaktion Books, Ltd., London, 2005. Coppel, Stephen. Picasso Prints: The Vollard Suite. The British Museum, 2012. Florman, Lisa. Myth and Metamorphosis: Picasso’s Classical Prints of the 1930s. Massachusetts Institute of Technology, 2000. Fryberger, Betsy G. Picasso Graphic Magician: Prints from the Norton Simon Museum. Cantor Center for Visual Arts, Stanford University in Association with Philip Wilson Publishers, 1998. Martin, Fernando Martin. Picasso and the Circus: Fin-deSiècle Paris and the Suite de Saltimbanques. The Trout Gallery, Dickinson College, Carlisle, Pennsylvania, 2011. Melamed, Hope and Abraham. Cubist Prints: from the Collection of Dr. and Mrs. Abraham Melamed. Elvehjem Art Center, University of Wisconsin-Madison, 1972. Richardson, John. A Life of Picasso, Volume II: 1907-1917, The Painter of Modern Life. Random House, New York, 1996. Rosa, Bernice and Bernard Ruiz Picasso. Picasso: 200 Masterworks from 1898 to 1972. A Bulfinch Press Book. Little, Brown and Company, Boston, New York, and London, 2002. Seraller, Francisco Calvo. Picasso Vollard Suite. [Essay: “The Parabola of the Sculptor,” pp.2-49.] The Instituto de Credito Official Collection, Madrid, 1993. Verlag, Kerber. Pablo Picasso and Marie-Thérèse Walter: Between Classicism and Surrealism. Bibliothèque nationale de France, Paris, and the Musée Picasso, Paris, 2004. Wallen, Burr and Donna Stein. The Cubist Print. University Art Museum, University of California, Santa Barbara. The Regents of the University of California, 1981. 141

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